The New Woman in Early Twentieth-Century Chinese Fiction. Jin Feng

2006 ◽  
Vol 55 ◽  
pp. 203-205
Author(s):  
Louise Edwards
Keyword(s):  
Twentieth Century ◽  
New Woman ◽  
Early Twentieth Century ◽  
Chinese Fiction ◽  
The New Woman

scholarly journals Seeking the Dharma on the World Stage: Lü Bicheng and the Revival of Buddhism in the Early Twentieth Century

Religions ◽  
2019 ◽  
Vol 10 (10) ◽  
pp. 558
Author(s):  
Peng Liu
Keyword(s):  
Twentieth Century ◽  
Social Space ◽  
New Woman ◽  
The United States ◽  
Science And Religion ◽  
Woman Writer ◽  
Animal Protection ◽  
Early Twentieth Century ◽  
The First World War ◽  
The New Woman

This article focuses on the Chinese woman writer Lü Bicheng 呂碧城 (1883–1943) and her relationship with the worldwide movement for the revival of Buddhism in the early twentieth century. Lü rose up in the context of the “new woman” ideal and transcended that ideal as she rejected the dualistic thinking that was prevalent in her time. She embraced both reason and religion, as well as both modern and traditional ideas. Her story demonstrates that religion and the creation of the “new woman” were not mutually exclusive in her life. In the 1920s and 1930s, Lü traveled extensively in the United States and Europe and eventually converted to Buddhism after she witnessed its popularity in the West. During this period, she successfully created a social space for herself by utilizing Buddhist sources to engage in intellectual dialogues on paranormal phenomena and animal protection. At the same time, she carved out a place for Buddhism in the discourse on the convergence and divergence of science and religion after the First World War (1914–1918).

Edna St. Vincent Millay and Anne Sexton: The Disruption of Domestic Bliss

2004 ◽  
Vol 38 (1) ◽  
pp. 67-88 ◽  
Author(s):  
ARTEMIS MICHAILIDOU
Keyword(s):  
Twentieth Century ◽  
Gender Stereotypes ◽  
New Woman ◽  
American Poetry ◽  
Anne Sexton ◽  
Early Twentieth Century ◽  
The New Woman ◽  
The Subject ◽  
And Gender ◽  
Second Wave

Popular perceptions of Edna St. Vincent Millay do not generally see her as a poet interested in so-called “domestic poetry.” On the contrary, Millay is most commonly described as the female embodiment of the rebellious spirit that marked the 1920s, the “New Woman” of early twentieth-century feminism. Until the late 1970s, the subject of domesticity seemed incompatible with the celebrated images of Millay's “progressiveness,” “rebelliousness,” or “originality.” But then again, by the 1970s Millay was no longer seen as particularly rebellious or original, and the fact that she had also contributed to the tradition of domestic poetry was not to her advantage. Domesticity may have been an important issue for second-wave feminists, but it was discussed rather selectively and, outside feminist circles, Millay was hardly ever mentioned by literary critics. The taint of “traditionalism” did not help Millay's cause, and the poet's lifelong exploration of sexuality, femininity and gender stereotypes was somehow not enough to generate sophisticated critical analyses. Since Millay seemed to be a largely traditional poet and a “politically incorrect” feminist model, second-wave feminists preferred to focus on other figures, classified as more modern and more overtly subversive. Scholarly recognition of Millay's significance within the canon of modern American poetry did not really begin until the 1990s.

A Gift Economy: G. W. Pabst’s Pandora’s Box (1929)

2021 ◽  
Author(s):  
Laleen Jayamanne
Keyword(s):  
Twentieth Century ◽  
New Woman ◽  
Technical Skills ◽  
Silent Film ◽  
Gift Economy ◽  
Film Image ◽  
Early Twentieth Century ◽  
Intimate Link ◽  
The New Woman ◽  
Female Scholar

The first chapter offers a fresh approach to this canonical silent film by focusing on Louise Brooks’s kinetic performance as Lulu and the tradition of dance and abstract movements she draws on. The early twentieth-century feminist political slogan, the ‘New Woman’, is embodied, contested, and rendered ambiguous in this late Weimar silent film through Brooks’s technical skills as a modern dancer. Pabst and Brooks as co-creators draw an intimate link between the dynamism of the silent-film image and that of Lulu as dancer. I see these as a gift to the rather sedentary female scholar of cinema.

Rewriting Ibsen's Nora: Fiction and the New Woman in Thailand (1920s–1940s)

2020 ◽  
Vol 51 (3) ◽  
pp. 397-413
Author(s):  
Thosaeng Chaochuti
Keyword(s):  
Twentieth Century ◽  
Gender Equality ◽  
New Woman ◽  
Thai Women ◽  
Local Newspapers ◽  
Early Twentieth Century ◽  
The New Woman ◽  
A Doll's House

Previous research has shown that the New Woman was a global phenomenon and that fiction was crucial to the emergence of this New Woman. One work that was of particular importance was Henrik Ibsen's A doll's house. This article examines the rise of the New Woman in early twentieth century Thailand. It traces the campaigns for gender equality that Thai women waged in local newspapers and magazines. It also examines the reactions towards these campaigns by three major authors, all of whom turned to Ibsen's play in their engagement with the New Woman phenomenon.

ADVERTISING MODERNITY IN WOMEN'S WORLD: WOMEN'S LIFESTYLE AND LEISURE IN LATE-OTTOMAN ISTANBUL

Hawwa ◽  
2004 ◽  
Vol 2 (1) ◽  
pp. 34-63
Author(s):  
Pelin Başci
Keyword(s):  
Twentieth Century ◽  
New Woman ◽  
New Products ◽  
Upper Class ◽  
Popular Press ◽  
Women And Gender ◽  
Goods And Services ◽  
The New Woman ◽  
And Gender ◽  
Late Ottoman

AbstractWomen and gender can be used as an index of modernization in late-Ottoman society. The study of women in relation to consumption is relatively new, but it is a topic capable of informing us simultaneously about the emergence of modern goods and services targeting women and women's attitudes and expectations towards the new lifestyle that was beginning to attract them. This study explores advertisements—mostly on education, entertainment, leisure and conveniences, food, and wealth—which appeared in a late-Ottoman women's journal, Women's World, during the early decades of the twentieth century. It traces the emergence of "the new woman" through the popular press, showing how women comprised a well-defined, visible market for many of the modern goods and services in these areas. Advertisements paint a picture of upper-class Ottoman women who were active in shaping a hybrid Ottoman modernity, even as they shared the anxieties of the broader culture, which greeted many of the new products, tastes, and customs with ambivalence.

Sign in / Sign up

Export Citation Format

Share Document